12 Feb 2007
Star Power, Charisma and Ardor in ‘Onegin’
http://www.nytimes.com/2007/02/12/arts/music/12oneg.html?_r=1&ref=music&oref=slogin
https://boydellandbrewer.com/bizet-s-i-carmen-i-uncovered.html
https://boydellandbrewer.com/the-operas-of-sergei-prokofiev.html
https://www.wexfordopera.com/media/news/incoming-artistic-director-rosetta-cucchi-announces-her-2020-programme
https://press.uchicago.edu/ucp/books/book/chicago/M/bo43988096.html
http://www.iupress.indiana.edu/product_info.php?products_id=809636
https://www.cambridge.org/us/academic/subjects/music/twentieth-century-and-contemporary-music/prokofievs-soviet-operas?format=HB
https://boydellandbrewer.com/the-operas-of-benjamin-britten.html
https://www.bloomsbury.com/us/the-opera-singers-acting-toolkit-9781350006454/
https://h-france.net/vol18reviews/vol18no52palidda.pdf
http://www.operatoday.com/content/2018/08/glyndebourne_an.php
A musical challenge to our view of the past
https://vimeo.com/operarara/how-to-rescue-an-opera
http://www.nytimes.com/2007/02/12/arts/music/12oneg.html?_r=1&ref=music&oref=slogin
By ANTHONY TOMMASINI [New York Times, 12 February 2007]
The Metropolitan Opera’s affecting revival of its 1997 production of Tchaikovsky’s “Eugene Onegin,” which opened on Friday night, is all the more impressive because it might have turned out so differently. In a risky move, the production brought major Russian artists steeped in their national operatic heritage together with two Met stars making brave forays into far-afield repertory.